exercicios para manter cérebro ativo

8/10/2019 exercicios para manter cérebro ativo

http://slidepdf.com/reader/full/exercicios-para-manter-cerebro-ativo 1/14

John Cage and Improvisation – An Unresolved Relationship

© Sabine M. Feisst (Arizona State University)

Improvisation, a neglected phenomenon in estern art m!sic in the early t"entiethcent!ry, has been reconsidered by many composers since the #$%&s. 'ohn age, ey

*ig!re and catalyst in the avant+garde movement, "as among the *irst to embrace the

indeterminate and !npredictable elements o* a m!sical process all characteristics o*

improvisation. -et, thro!gho!t most o* his career, age sho"ed ambig!ity and adversity

to"ard improvisation and "arned per*ormers against improvisatory per*ormances o* his

o"n scores challenging his societys "ell+"orn concepts o* *ree m!sic maing and

improvisation. ages septicism to"ard improvisation "as symptomatic among avant+

garde composers and sheds light on the comple/ity o* improvisation partic!larly in the

conte/t o* ne" m!sic. In the *ollo"ing I shall e/amine ages reasons *or his de*initions

and dislie o* improvisation and ho" age circ!mvented or !sed improvisation in his

"ors.

Early Considerations of Improvisation

ages consideration o* improvisation changed in the co!rse o* his career time and again.

In the early#$0&s he too an improvisatory approach to composition "hen he chose 1an

entirely di**erent "ay o* composing, "hich "as thro!gh improvisation2 (Fleming and

3!c"orth #$4$5#6). 7e e/plained, 1my inspiration "as carried along on the "ings o*

Aeschyl!s and 8ertr!de Stein. I improvised at the piano and attempted to "rite do"n

"hat I played be*ore I *orgot it2 (9ostelanetz #$$05:$). Most o* this m!sic did not

s!rvive. 3issatis*ied "ith the 1glaring "eaness o* this method,2 age st!died ;benezer

<ro!ts m!sic theory, b!t contin!ed to consider improvisation as an element o*

composition (9ostelanetz #$$05:$). In #$0%, he composed Quest *or ampli*ied small

so!nds and piano solo "hich is among his earliest s!rviving pieces incorporating

improvisation. ritten *or the dancer+choreographer Martha 3eane, the *irst o* the t"o

movements involving ampli*ied so!nds o* mechanical toys and other small ob=ects, "as

an improvisation and devoid o* a score.



A*ter #$0% he began to concept!alize the *o!r main aspects o* his ne"ly ac>!ired

compositional processes5 material, str!ct!re, method and *orm. According to age,

m!sical material consists o* so!nds (incl!ding noises) and silences. Str!ct!re is no longer

based on *!nctional harmony, b!t on temporal divisions and proportions. Method re*ers to

the note+to+note proced!re, and *orm is the 1morphological line o* the so!nd+contin!ity2

(9ostelanetz #$645?4+?$). @he element o* improvisation "ithin these categories is not

completely e/cl!ded. 3!ring the time period o* the late #$0&s and #$&s, "hen age

created his all+perc!ssion "ors and compositions *or prepared piano based on the so+

called 1macro+microcosmic2 temporal str!ct!re, he re*lected !pon possibilities o*

improvisation "ithin his compositional processes. 7e e/plained that 1three o* the *o!r

components co!ld be improvised, *orm, material and method, and that three co!ld be

organized, str!ct!re, method and material. And the t"o in the middle, material and

method co!ld be either organized or improvised2 (harles #$4#506). @he only category

de*ying improvisation "as str!ct!re. @his vie" implies that *or him str!ct!re "as the

*o!ndation o* a piece and that a*ter the str!ct!re "as organized, improvisation co!ld be

!sed as a compositional means, and that material and method co!ld be handled more

*reely. Form generally depended on the o!tcome o* the compositional process.

In his in*l!ential te/t 1@he F!t!re o* M!sic5 redo2 (circa #$&), age also points

o!t that the temporal str!ct!re in m!sic co!ld become the basis *or gro!p improvisation5

1Methods o* "riting perc!ssion m!sic have as their goal the rhythmic

str!ct!re o* a composition. As soon as these methods are crystallized into

one or several "idely accepted methods, the means "ill e/ist *or gro!p

improvisations o* !n"ritten b!t c!lt!rally important m!sic. @his has already taen

place in Briental c!lt!res and in hot =azz2 (age #$6#5%).

7ence, as early as aro!nd #$&, age already predicted the phenomenon o* collective

improvisation and the emergence o* improvisation gro!ps s!ch as M!sica ;lettronica

Civa and D!ova onsonanza in the #$6&s. Moreover, he sa" certain a**inities bet"een

his methods o* rhythmic str!ct!ring (s>!are root *orm), 7ind! tala and hot =azz



(9ostelanetz #$$0560). ;ven tho!gh s!ch vie"s seem spec!lative, they re*er to his early

consideration o* improvisation, non+estern m!sic and De" Brleans =azz (9ostelanetz

#$$05:#+::). ages interest in =azz can be lined to his e/ploration o* perc!ssion so!nds,

*avored in =azz (and non+estern m!sic), and his per*ormances o* illiam E!ssells =azz

and atin in*l!enced all+perc!ssion "ors. 3!ring the early #$&s, "hen age stayed in

hicago, he not only attended =am sessions and ta!ght gro!p improvisation in his

e/perimental m!sic class at the hicago School o* 3esign, b!t he also toyed "ith =azz

idioms in "ors s!ch as Third Construction (#$#), Credo in Us (#$:), and Jazz Study

(circa #$:) (Eevill #$$05?%).

Impersonality

From the late #$&s on age st!died So!th and ;ast Asian philosophies and his aestheticideas abo!t composition and improvisation changed. In*l!enced by the Indian art scholar

Ananda oomaras"amy and his boo The Transformation of Nature in Art (#$0), age

became *ascinated "ith the idea o* art as 1the imitation o* Dat!re in her manner o*

operation2 and opposed to art as an e/pression o* emotion. 7e began to re=ect artistic

sel*+e/pression. A paramo!nt concept in nineteenth+cent!ry estern m!sic, sel*+

e/pression is also a *!ndamental aspect o* improvisation. Improvisation o*ten involves

the e/pression o* a personal style, emotions, lies and dislies. ;ven i* carried o!t in a

passive manner, *or instance, as a ind o* 1a!tomatic "riting,2 improvisation re*lects the

per*ormers s!bconscio!s m!sical e/perience, motor patterns, and idioms. I* !nderstood

as an a!rally transmitted comple/ creative act implying the !se o* "ell+rehearsed

patterns, consideration o* r!les and assessment o* the ongoing process, improvisation

appears as a respect+commanding a!tonomo!s activity. It highlights the improvisers

artistic abilities, s!b=ectivity and virt!osity. 7ence improvisation *re>!ently tends to"ard

personality c!lt. Dothing co!ld be *!rther *rom ages ne" aesthetic, as he emphasized5

1Improvisation is something that I "ant to avoid. Most people "ho improvise slip bac

into their lies and dislies, and their memory, and they dont arrive at any revelation that

theyre !na"are o*2 (@!rner #$$:5?:). 7e dismissed improvisation beca!se it is

generally descriptive o* the per*ormer and not descriptive o* "hat happens (9ostelanetz

#$4?5:::).



Chance Operations and Experiment

In the early #$%&s age began to instill "ors s!ch as the oncerto *or <repared <iano

and Brchestra and Sixteen Dances (both #$%&+%#) "ith compositional impersonality by

!sing vertical charts, i.e. collections o* sonorities, and employed concentric circles and

s>!ares as a means to select so!nds *rom the charts. 7e there*ore limited *ree

compositional choices in the note+to+note process. In a *!rther step, he applied chance

operations involving the 6 he/agrams o* the I Ching , the hinese 1Goo o* hanges2

and tosses o* coins to *ree so!nds *rom his personal taste and let the so!nds be

themselves. ater age let chance enter his compositional processes by employing

imper*ections o* paper, star maps and other so!rces to determine the nat!re and

s!ccession o* so!nds. @hro!gh s!ch proced!res, he eliminated deliberate relationships

bet"een so!nds and created a novel type o* abstract m!sical contin!ity largely 1*ree o*

individ!al taste and memory (psychology) and also o* the literat!re and Htraditions o*

art2 (age #$6#5%?+%$). @his ne" ind o* ob=ecti*ied m!sical contin!ity seemed to

co!nteract all types o* comm!nicative improvisation based on common practice idioms

or phraseology as they are *o!nd in =azz. And indeed age stated5 1@he *orm o* =azz

s!ggests too *re>!ently that people are taling that is, in s!ccession lie in a panel

disc!ssion or a gro!p o* individ!als simply imposing their remars "itho!t responding to

one another. I* I am going to listen to a speech then I "o!ld lie to hear some "ords2

(9ostelanetz #$$#5#6:). F!rther age pre*erred chance operations to improvisation since

*or him 1chance operations are a discipline, and improvisation is rarely a discipline2

(9a!**man, age and Al*red #$6656). -et, both chance operations and improvisation i*

interpreted literally aim at the !npredictable or unforeseeable.

Gesides chance operations, age also embraced and rede*ined the terms

1e/periment2 and 1e/perimental m!sic,2 "hich "ere o*ten !sed as a negative description

*or novel and strange compositions. hile an e/periment connotes trial, !npredictability,

*ail!re, s!ccess, scienti*ic research and proo*, age de*ined it as a compositional act o*

"hich the o!tcome is !nno"n (age #$6#56$). 7is primary goal became e/ploring the

!n*oreseeable and maing discoveries. hance operations !ndo!btedly became an ideal



device to create e/perimental "ors and to transcend imagination and inspiration, as

age himsel* acno"ledged5 1hance, to be precise, is a leap, provides a leap o!t o*

reach o* ones o"n grasp o* onesel*2 (age #$6#5#6:). ages notions o* e/periment and

improvisation are not compatible, d!e to his belie* that improvisation 1does not lead yo!

into a ne" e/perience, b!t into something "ith "hich yo!re already *amiliar2 (3arter

#$4:5:#). Many other composers and improvisers, ho"ever, see e/perimentalism and

improvisation as related to one another.

Indeterminacy in Notation and Performance

ompositions based on chance operations can lead to "ors in "hich every so!nd aspect

is determined, leaving no interpretive *le/ibility to the per*ormer. @his "as the case in

usic of Changes (#$%#). In *act, this "ors so!nd material and the system to "hich

chance proced!res "ere applied yielded a very comple/ score, an 1ob=ect more inh!man

than h!man2 according to age (age #$6#506). And it ind!ced him to introd!ce the

compositional dimension o* indeterminacy "ith regard to per*ormance, granting the

per*ormer a certain degree o* creative *reedom. Altho!gh one can observe indeterminacy

in many "ors o* the per*orming arts thro!gho!t the cent!ries, 1indeterminacy2 "as not

part o* the m!sical vocab!lary !ntil the late #$%&s. And age "as one o* the *irst to !se

this term in m!sical conte/ts. In his essay entitled 1Indeterminacy2 he presented and

e/plained compositions indeterminate "ith respect to their per*ormance s!ch as Gachs

Art of the !ugue "hich lacs speci*ic instr!mentation (age #$6#50%). Gy means o* novel

and ambig!o!s notation, age achieved indeterminacy in mani*old "ays leaving vario!s

aspects o* so!nds and their combination to the per*ormers choice. ompositions lie the

oncert *or <iano and Brchestra (#$%?+4) and "ariations I#"III (#$%4+?4) reveal a high

degree o* indeterminacy. @he >!estion, ho"ever, arises "hether or not ages

indeterminate scores invite the per*ormer to improvise. Improvisation, in *act, is o*ten

de*ined as the di**erence bet"een notation and the so!nd prod!ct.

Ans"ers to this >!estion can be *o!nd in the realizations o* 3avid @!dor, pianist,

composer and ages most important artistic associate, *or "hom many indeterminate

"ors bet"een #$%: and the mid+#$?&s "ere "ritten. Far *rom !sing these indeterminate



scores as invitations to improvise, @!dor *ollo"ed ages instr!ctions and prepared by

means o* meas!rements and calc!lations practical per*ormance scores, 1second te/ts,2

derived *rom the composers scores (7olzaep*el #$$5 viii). @hese per*ormance scores

"hich speci*ied the m!sical content, b!t also contained devices to bring abo!t

!npredictability, "ere generally "ors 1perpet!ally in progress2 *or it "as 1in 3avids

nat!re not to repeat "hat has been done2 (harles #$4#5#?4). @h!s age e/pected *rom

all o* his per*ormers a similar attit!de and pres!pposed discipline and compositional

decisions "ithin the *rame"or he designed. <er*ormers are e/pected to "or o!t all or

part o* the score ahead o* the per*ormance *rom materials and directions age provided.

<er*ormers have to strive *or impersonality and non+intention and engage in sit!ations o*

"hich the o!tcome is !nno"n. age stated once that his indeterminate pieces 1resemble

cameras that dont tell yo! "hat pict!re to tae, b!t enable yo! to tae a pict!re2

(ampana #$4%5#&$). @his e/plains *!rther "hy age distanced himsel* *rom

improvisation. 7e did not "ant to enco!rage common habits, s!b=ective and !ltimately

predictable acts, among improvising per*ormers.

Among ages most signi*icant indeterminate "ors is Atlas $cli%ticalis (#$6#+:)

*or orchestra "hose notation age derived *rom star maps by placing transparencies over

the maps and interpreting the stars positions as notes. @here are 46 individ!al parts *or

the symphony orchestras instr!ments incl!ding t"elve mostly !nspeci*ied perc!ssion

parts. @here is, ho"ever, no master score *or the cond!ctor, only a 1road map.2 @he

n!mber o* parts and passages to be played, the order o* the sections and the d!ration o*

the "hole "or, *or instance, are le*t to the per*ormers choice. @he "or can be

per*ormed in "hole or part in any ensemble (*rom chamber to orchestral) "ith or "itho!t

other compositions by age sim!ltaneo!sly. @he notations are ambig!o!s and per*ormers

need to *ind the per*ect balance bet"een discipline and choice by *inding ob=ective

strategies s!ch as tosses o* coins to overcome their personal taste and remove val!e

=!dgment *rom the decision+maing process.

@he per*ormance history o* Atlas $cli%ticalis and n!mero!s other "ors by age,



the damage had been done.: @his e/perience strongly s!pports "hy, *or a long time, age

vie"ed his concepts o* chance operations and indeterminacy as incompatible "ith

improvisation.

Improvisation – Natre – Politics

In the #$?&s, d!ring a period in "hich age became involved "ith the "ritings o*

@horea!, ecology, and politics, he reconsidered improvisation. 7e even !sed

improvisation emphatically as s!btitle and title *or a n!mber o* "ors. G!t no" his goal

became to *ree improvisation *rom memory and *eelings, as he e/plained5 1@he reason I

didnt "ant to improvise "as that I "o!ld be e/pressing my *eelings. I do "ant a m!sic

in "hich I dont do that. So "hen I !se improvisation no", it m!st be in sit!ations "here

I have a lo" degree o* in*l!ence2 (ope #$4&5:#). 7e also stressed that he "anted 1to

mae improvisation a discipline2 and that it "o!ld involve 1doing something beyond the

control o* the ego2 (9a!**mann and age #$6656). In pieces lie Child of Tree (#$?%),

-ranches (#$?6) or Inlets (#$??) the players have to mae discoveries "ith !n*amiliar

materials. Goth Child of Tree and -ranches are perc!ssion "ors re>!iring 1instr!ments2

s!ch as pod rattles *rom a Me/ican <oinciana tree and cacti ampli*ied by contact

microphones. age pointed o!t that in these pieces, 1the instr!ments are so !nno"n that

as yo! e/plore, say the spines o* a cact!s, yo!re not really dealing "ith yo!r memory or

yo!r taste. -o!re e/ploring. As yo! play yo! destroy the instr!ment or change it

beca!se "hen yo! mae a spine vibrate it begins to lose its same pliability2 (7olmes

#$4#50). @he temporal str!ct!re o* these pieces and the 1instr!mentation2 o* each section

have to be determined by the per*ormer thro!gh chance operations ahead o* time.

ith Inlets, *or three per*ormers !sing "ater+*illed conch shells and a *ire live or

recorded, age introd!ced a second type o* improvisation "hich he also classi*ied as

1m!sic o* contingency2 (ope #$4&5:#). @he players moving the conch shells have no

control over the occ!rrence o* the g!rgles and their rhythms since they cannot see the

"ater passing thro!gh the shells chambers. 7ere the m!sic res!lts *rom a separation o*

: For details on this per*ormance see eta Miller, 1age, !nningham and ollaborators5 @he Bdyssey o*

"ariations " ,2 The usical Quarterly, 4%, 0, :&&#, %$+%%&. @his inglorio!s per*ormance is available on

35 The Ne. /or0 *hilharmonic 1 -ernstein )i+e, De" -or <hilharmonic Special ;ditions, D-<

:&&#:J#0 (De" -or :&&&).



ca!se and e**ect, and the players cannot rely on taste or memory (age #$$050+%). 7e

also called this ne" improvisational concept 1str!ct!ral2 improvisation e/plaining5

1hat delights me in this thing is that the per*ormer, the improviser, and the

listener too are discovering the nat!re o* the str!ct!re Improvisation that is

to say not thining, not !sing chance operations, =!st letting the so!nd be, in the

space, in order that the space can be di**erentiated *rom the ne/t space "hich

"ont have that so!nd in it2 (age and Eeynolds #$?$5%4#).

It seems that nat!re provided the ideal conditions age so!ght a*ter in his m!sic5

!npredictability and !ncontrollability. hile improvising "ith nat!ral materials,

discovery replaces e/pression o* emotions. ors incl!ding Child of Tree, -ranches and

Inlets also reveal an ecological >!alityK herein h!mans do not control nat!re, b!t accept

and discern her la"s.

In other "ors "ritten in the #$4&s s!ch as Im%ro+isation III (#$4&) per*ormers

operate cassette players. In the *ormer "or, *o!r m!sicians play identical cassettes "ith

so!nd o* a single ind. 3!ring the co!rse o* the per*ormance each player is allo"ed to

1improvise2 one crescendo. Another gro!p o* 1improvisations2 *rom the #$4&s, the three

c Com%osed Im%ro+isations, involves the !se o* traditional instr!ments, a snare dr!m, a

Steinberger bass g!itar and one+sided dr!ms "ith or "itho!t =angles. age provided

highly indeterminate scores and gave the improvisers a variety o* problems to solve,

incl!ding instr!ctions *or the !se o* chance operations. @hese ne" approaches to

improvisation, "hich seem to have nothing in common "ith the conventional idea o*

improvisation, act!ally come very close to its etymological meaning5 1to bring *or"ard

the !n*oreseeable.2

In the #$?&s and #$4&s age also "rote some socially and politically

motivated "ors "hich involve elements o* improvisation. In $tcetera (#$?0) *or

orchestra, three cond!ctors and taped nat!re so!nds and $tcetera 234 'rchestras (#$4%)

*or *o!r orchestral gro!ps, *o!r cond!ctors and taped city so!nds, *or instance, his



concepts o* individ!alist anarchy and *reedom coincide "ith improvisation. 7erein

1anarchic,2 !ncontrolled and improvised sit!ations are contrasted "ith 1governed,2

controlled, and determined ones. <er*ormers can be improvising soloists realizing

indeterminately "ritten parts, or they may play more conventionally notated materials in

cond!cted gro!ps (@!rner :&&05%+6).

Cage!s Performance of "is #ext Pieces and the $estion of Improvisation

A similar metamorphosis o* ages attit!de to"ard improvisation can be *o!nd in his

recitations o* his ling!istically idiosyncratic "ritings. 7is te/t Indeterminacy o* #$%$, *or

instance, consists o* ninety very short stories, "hich have to be read at varying speeds

depending on the storys n!mber o* "ords so that each story "o!ld tae no longer than

one min!te to *inish. @he time constraint prevents the reciter *rom improvising the

intonation, yet involves a certain degree o* !npredictability. From the non+hierarchical

assemblages o* narrative short stories, age progressed in the #$?&s and #$4&s to"ard

non+syntactic prose 1"ritten thro!gh2 other a!thors te/ts. A mi/ o* letters, syllables,

"ords, phrases and sentences, ureau (standing *or M!sic and @horea!, #$?&) "as

dra"n *rom @horea!s remars on so!nd and silence in his Journal and composed by

means o* chance operations. As age grad!ally 1m!sicalized2 lang!age, he developed his

vocal sills *!rther and his readings became chanted per*ormances. hile preparing *or a

recitation o* ureau, he seemed to have st!mbled !pon improvisation5

1I discovered that I co!ld improvise, b!t only along the same linesL ... hen I

improvised by mysel*, I !sed all the reso!rces o* my voice and all the

elements o* lang!age "itho!t *alling bac !pon no"n "ords or a synta/. I *o!nd this

e/perience thrilling2 (harles #$4#5##0).

-et, "hen ased "hether he improvised in p!blic per*ormances o* his te/ts age

ans"ered5 1I *eel best "hen something happens to my voice that is not normal that pers

!p my ears lie a loss o* breath or a loss o* tone in other "ords some deviation *rom the

e/pected2 (age #$$&5:#6).



Improvisation also played a limited role in the creation o* some o* ages

mesostic poetry, vis!ally str!ct!red poems displaying series o* vertically organized

"ords. Gesides !sing chance operations and other artistic choices, he *o!nd himsel*

1"oring by improvising and trying to *ind o!t "hat the "ords "anted, ho" they "anted

to "or2 (Eetallac #$$656). For the per*ormance o* some o* his mesostics, age

developed by reading them alo!d and improvising a speci*ic ind o* notation

indicating pa!ses and stresses. In his per*ormance instr!ctions *or Sixty#t.o esostics re

erce Cunningham (#$?#, printed in abo!t seven h!ndred and thirty di**erent type *aces

and sizes) age points o!t that the 1type *ace and size di**erences may be !sed to s!ggest

an improvised vocal line having any changes o* intensity, >!ality, style.2 -et, he ca!tions

the per*ormer against 1*ollo"ing any conventional r!le2 and against searching 1to

establish any pron!nciation r!le2 (age #$?#5 pre*ace).

For the per*ormance o* his last te/t piece 'ne52 (#$$:) *or a lect!rer, *eat!ring a

score "ith 6& n!mbers bet"een one and t"elve, age gave himsel* 1a problem in

improvisation "hich "as not easy to do2 (Eetallac #$$65:?&). hispering or vocalizing

the letters o* the alphabet, he had to come !p "ith and spea a 1*!ll "ord2 (no!n, verb,

etc.) each time he came to n!mber t"elve and an 1empty "ord2 (con=!nctions, prono!ns,

etc.) each time he came to n!mber one. D!mber seven re>!ired him to choose any seven

letters and give them pitches. @hese conditions, incl!ding the *act that this pieces

d!ration "as indeterminate, lead to a variety o* !npredictable moments largely

independent *rom taste and memory. ages per*ormance o* a thirty+min!te version o*

'ne52 in '!ne #$$: in <er!gia, Italy "as described as diatonic, so*t, contin!o!sly

di**erent and 1radiating a >!iet and bea!ty o* its o"n.20

I* age changed his attit!de to"ard improvisation in the #$?&s, "hat "as his

vie" o* =azz "hich had !ndergone many changes and become *reer since the #$%&s 7is

opinion on =azz does not seem to have changed at all. age commented on *ree =azz as

*ollo"s5 1;veryone tells me that =azz is *ree today. G!t "hen I listen to it, it al"ays seems

to me to be con*ined "ithin a "orld o* ideas and m!sical relationships. And "hat is

0 See NO!aderni <er!gini di M!sica ontemporanea,1 Neue 67rcher 6eitung , ## '!ly, #$$:. @his premiere

"as to become one his last per*ormances, *or he died =!st seven "ees later.



age dealt "ith improvisation on vario!s levels !sing it as a pre+compositional and

compositional tool and employing it as a dimension pertaining to per*ormance. In the

co!rse o* his career, his idea o* improvisation !nder"ent a considerable trans*ormation.

7e embraced improvisation in the #$0&s and #$&s, re=ected it vehemently in the #$%&s

and #$6&s and approached it again !nder ne" premises *rom the #$?&s on. Intrig!ingly

his disapproval o* improvisation coincided "ith a red!ction o* compositional control, yet

it also conc!rred "ith a rationalization o* the creative process. @his circ!mstance has

created m!ch con*!sion. ages indeterminate notations o*ten re>!ire the per*ormer to

prepare "ritten realizations prior to per*ormance. @he act o* per*orming an indeterminate

score th!s seems to go beyond e/ec!tion or interpretation. And despite the per*ormers

greater share in the creative process, their per*ormance neither e>!als improvisation or

composition. -et, everything depends on ho" the terms e/ec!tion, interpretation,

composition and improvisation are de*ined. age re=ected improvisation beca!se many o*

its implied meanings contradicted his aesthetic principles. @hese connotations incl!de

int!ition, sel*+e/pression, memory and taste+based !tterances, disco!rsiveness,

predictability, and repetition. 7e solely embraced one rarely achieved and o*ten ill!sive

etymological meaning o* improvisation5 to do something !n*oreseeable. And it "as this

denotation "hich led him to reconsider improvisation later in his career "itho!t maing

any aesthetic compromises. 7e !ndo!btedly created a greater a"areness o* the

implications o* improvisation and shed light on the challenges and ill!sions o*

improvisation. In his search *or the enco!nter o* an !ne/pected e/perience or revelation,

he provided ne" creative opport!nities *or his per*ormers. hether age *o!ght against

improvisation or embraced it, thro!gho!t his proli*ic career he *o!nd mani*old "ays in

dealing "ith the imprRv!, the !n*oreseen.

References

Amirhanian, harles. #$$:. 1H@he !niverse sho!ld be lie Gach, b!t it is lie Mozart,

'ohn age and onlon Dancarro" in onversation.2 ,orld Ne. usic agazine :5?+?&.

age, 'ohn. #$6#. Silence. Middleto"n, onnectic!t5 esleyan University <ress.age, 'ohn. #$?#. Sixty#t.o esostics 9e erce Cunningham. De" -or5 7enmar <ress.

age, 'ohn. #$$&. I#"I8 The Charles $liot Norton )ectures: 5;<<#<;. Middleto"n5

esleyan University <ress.

age, 'ohn. #$$0. Com%osition in 9etros%ect . ambridge, Massach!setts5 ;/act hange.



age, 'ohn and Eeynolds, Eoger. #$?$. 1A onversation.2 The usical Quarterly

6%()5%?0+%$0.

ampana, 3eborah. #$4%. !orm and Structure in the usic of John Cage, <h.3.3issertation, Dorth"estern University, ;vanston.

harles, 3aniel. #$4#. !or the -irds. Goston5 Marion Goyars.

ope, 3avid. #$4&. 1An Intervie" "ith 'ohn age.2 The Com%oser agazine #&J##56+::.

3arter, @om. #$4:. 1'ohn age.2 =eyboard 4($)5#4+:$.

Fleming, Eichard and 3!c"orth, illiam (eds.). #$4$. John Cage at Se+enty#!i+e.e"isb!rg5 G!cnell University <ress.

7olmes, @hom. #$4#. 1@he age Intervie".2 9ecordings 0(0)5:+%.

7olzaep*el, 'ohn. #$$. Da+id Tudor and the *erformance of American $x%erimental

usic: 5;>?#5;>; (<h.3. 3issertation, ity University o* De" -or.9a!**mann, Stanley and age, 'ohn #$66. 1@he hanging A!dience *or the hanging

Arts (<anel),2 The Arts@ *lanning for Change (De" -or5 Associated o!ncils o* the

Arts, #$66). :0+%:.

9ostelanetz, Eichard (ed.). #$64. John Cage. De" -or5 <raeger <!blishers. ?4+?$.++. #$4?. Con+ersing .ith Cage. De" -or5 imelight ;ditions.

++. #$$#. John Cage8 An Anthology. De" -or5 3a apo <ress.++. #$$0. John Cage@ ,riter8 *re+iously Uncollected *ieces. De" -or5 imelight

;ditions.

e"is, 8eorge. #$$6, 1Improvised M!sic a*ter #$%&5 A*rological and ;!rological<erspectives.2 -lac0 usic 9esearch Journal #6(#)5$#+#::.

Eetallac, 'oan (ed.). #$$6. usiCage8 Cage uses on ,ords: Art: usic. 7anover, De"

7ampshire5 University o* De" ;ngland <ress.

Eevill, 3avid. #$$0. The 9oaring Silence8 John Cage@ A )ife. De" -or5 Arcade<!blishing.

Sz"ed, 'ohn. #$$?. S%ace Is the *lace8 The )i+es and Times of Sun 9a . De" -or5

<antheon.@!rner, Steve S"eeney. #$$&. 1'ohn ages <ractical Utopias 'ohn age in

onversation "ith Steve S"eeney @!rner.2 The usical Times #0#56$+?:

@!rner, Steve S"eeney. :&&0. 1age+Intervie" Do. 0, Almeida ontemporary Festival,ondon, #$$&,2 !ran0furter 6eitschrift f7r usi0.issenschaft 6, http5JJ""".*zm".de.

exercicios para manter cérebro ativo

Documents